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THE  ROBERT   E.  COWAN  COLLECTION 

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UNIVERSITY  OF  CALIFORNIA 

C.  P.  HUNTINGTON 

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The  Violin  : 


A  Condensed  History  of  the  Violin. 


ITS  PERFECTION  AND  ITS  FAMOUS  MAKERS. 


Importance  of  Bridge  and  Sound-Post  Arrangement. 


CHAS.  GOFFRIE. 


To  perfect  that  wonder  of  travel — the  Locomotive — has  perhaps  not  required  the  expenditure  o/ 
mere  mental  strength  and  application,   than   to  perfect  that  wonder  of 
music— the  Violin."— W.  E.  GLADSTONE. 


ilaJrHfilna: 


a.     ANDRE     &     CO 

No.  1228  Chestnut  Street. 


The  Violin: 


A  Condensed  History  of  the  Violin. 


ITS  PERFECTION  AND  ITS  FAMOUS  MAKERS. 


Importance  of  Bridge  and  Sound-Post  Arrangement. 


CHAS.  GOFFRIE. 


To  perfect  that  -uoonder  of  travel — the  Locomotive — has  perhaps  not  required  the  expenditure  of 

more  mental  strength  and  application,   than   to  perfect  that  zvonder  of 

music— the  Violin."— IF.  E.   GLADSTONE. 


ANDRE     &     CO. 

No.  1228  Chestnut   Street. 


CALIFORHlL. 


CONTENTS, 

7  6^hO  U- 


V.L%bX 


G  L 


Viol 


Introduction. — Collection  of  Cremona  Violins,  etc. 
Early   Bow    Instruments. — Ravanastron,    Rebek,   Crwth 

da  Ganiba,  Viola  and  Violin, 
Ancient  Violin  Makers,  Kerlino,  Caspar  di  Sala,  Maggini,  etc. 
Amati  Family. — Nicholas  Amati. 
Stradiuarius  and  Joseph  Guarnerius. 
Construction  of  the  Violin — 58  different  parts. 
Patent  Sound-board.  ■  .  .  .  . 

The  Bar,  Bridge,  and  Sound-post. 

Italian  and  Modern  Varnish.  . 

Arrangement  of  Bridge  and  Sound-post. 

Acquaintance  with  Eminent  Artists — their  Instrurnent 

New  Violins — their  Qiiality  of  Sound. 

Violin  Makers  of  the  Present  Day. 

Present  High  Value  of  Cremona  Violins. 

Violin  Bows.  ..... 

Catalogue  of  Violin  Makers. 


PAGE. 

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Copyrierht  secured,  1876,  by  Oluirles  Ooffrie 


THE    VIOLIN: 

AND  ITS  CELEBRATED  MASTERS 


INTRODUCTION. 

To  THE  Amateurs  of  the  Leading  Instrument — the  Violin. 

For  some  years  I  have  been  occupied  in  forming  a  collection  of 
Italian  string  instruments,  and  have  succeeded,  after  great  labor  and 
expenditure,  in  bringing  together  the  largest  and  most  varied  assort- 
ment of  Cremona  Violins,  Violas,  Viols  d'amour  and  Violoncellos, 
including  Stradiuarius,  Guarnerius,  Carlo  Bergonzi,  Amati,  Guad- 
agnini,  Maggini,  Rugeri,  Montagnani,  Grancino,  Stainer,  etc.,  etc.  ; 
also,  Tourte  and  other  bows  that  are  to  be  found  in  this  country. 
These  I  have  placed  on  view  at  Andre's  Music  Store,  1228  Chestnut 
Street,  Philadelphia. 

The  value  of  the  instruments  ranges  from  $100  to  over  $1000 
each,  and  the  aggregate  value  exceeds  $10,000.  Some  of  the  instru- 
ments and  bows  are  for  sale. 

In  giving  publicity  to  the  following  few  pages,  I  wish  it  to  be 
understood  that  my  object  is  to  present,  in  a  very  condensed  form, 
the  History  and  description  of  the  Violin — from  the  period  when 
the  bow  was  first  introduced,  to  the  time  when  both  the  Violin  and 
bow  were  brought  to  perfection. 

I  have  only  added  what  an  experience  of  over  30  years  taught 
me  in  that  important  part — the  proper  arrangement  of  Bar,  Sound- 
Post,  and  Bridge.* 

Any  one  desiring  more  information  about  the  history  of  stringed 
instruments,  I  refer  to  the  works  of  the  following  authors  : — Fetis, 
Coussemaker,  Savart,  Otto,  Hart,  Abele,  etc. 

CHR.  GOFFRIE, 
jj^  E.   Ijth   Stfeet^   New    York. 

*  In  a  future  Edition,  I  hope  to  be  able  to  give  Photographs  of  Violins, 
Diagrams  of  Bridges,  etc.  ;  and  to  treat  the  subject  more  extensively. 

(3)     . 


4  The  Violin. 

The  earliest  period  when  the  Bow  is  supposed  to  have  been 
used  to  string  instruments  is  about  2000  years  ago.  The  instrument 
of  that  time  is  called  Ravanastron.  It  was  of  Indian  origin,  and  is 
still  in  existence  under  that  name.  It  consisted  of  a  wooden  cylinder, 
with  serpent  or  animal  skin  as  sound-board,  a  bridge,  and  two  strings 
made  of  animal  intestines  (gut). 

A  similar  instrument,  with  two  strings,  is  the  Omerti.  It  was 
played  with  a  bow  made  of  bamboo,  and  a  small  bundle  of  horsehair 
tied  to  it,  so  as  to  give  a  slight  bend. 

Another  instrument,  called  Rebab,  or  Rebek,  is  of  Arabian 
origin.  It  is  made  of  a  wooden  frame,  with  parchment  on  top  and 
bottom,  and  has  only  one  string. 

The  first  instrument  of  the  kind  used  in  Europe,  was  the 
Crwth,  or  Crouth,  with  three  strings,  sometimes  more.  This 
originated  in  Wales,  England,  about  the  nth  century.  It  was  made 
of  a  wooden  back  and  sound-board,  with  holes  for  the  hands  to  pass 
through,  in  order  to  reach  the  strings. 

About  the  13th  century,  the  Mandolina,  with  the  various  Viol's 
da  Gamba,  Viol's  d'amour  and  Basses  were  produced. 

We  now  come  to  the  period  when  the  Violin  proper,  or  Piccolo 
Violino  francese,  was  made  ;  also  Violas  of  the  present  form.  The 
first  Viol  maker's  name  was  Kerlino.  He  lived  in  Brescia  about 
1450.  The  next,  Pietro  Dardelli,  1500  ;  Gaspar  Duiffobrugar  (Tie- 
fenbruker),  15 10.  Then  came  the  great  Gaspar  di  Salo,  from 
Brescia,  who  produced  Violins,  Violas,  etc.,  between  the  years  1555 
to  1610.  Both  Duiffobrugar  and  Gaspar  di  Salo  made  their  instru- 
ments of  the  best  description  of  wood  of  different  qualities  for 
back  and  belly,  and  with  good  forms  and  sound-holes,  which  remained 
models  for  the  great  makers  following  them.  Giovani  Paolo  Mag- 
gini,  1590  to  1640,  supposed  to  have  been  a  pupil  or  workman  with 
Gaspar  di  Salo,  as  there  is  some  similarity  in  their  instruments,  also  in 
the  manner  of  double  purfling  scroll  work  on  the  back,  etc.  ;  but  difter 


The  Violin.  5 

in  many  important  respects  as  to  form,  cut  of  sound-hole,  also  in  his 
varnish,  which  is  generally  of  a  yellow  or  brownish  yellow  color — 
the  varnish  Caspar  di  Salo  used'was  mostly  dark  brown. 

From  these  makers,  we  come  now  to  those  of  Cremona,  fore- 
most of  which  is  Andreas  Amati,  1540  to  1580.  As  there  is  also  some 
similarity  between  his  and  the  Gaspar  di  Salo  model — choice  of  wood 
and  cut  of  sound-hole — it  is  probable  that  he  had  instructions  from  him, 
or  worked  with  him  in  Brescia.  And,  Amati  was  the  founder  of  the 
Cremona  School  for  Violins.  His  works  are  carefully  executed — 
the  model  high,  sound-holes  short  and  not  elegant.  He  made  many 
Violins  of  rather  small  size,  which  have  a  fine,  sweet  quality  of 
sound,  but  are  not  powerful.  The  varnish  is  generally  brown,  though 
sometimes  of  a  golden  hue,  good  quality,  and  splendid  effect,  if  ex- 
amined by  sunlight. 

His  sons,  Antonius  and  Hieronymus,  were  skilful  makers,  and 
worked  for  many  years  together,  after  models  of  their  father,  from 
1570  to  1635.  In  their  latter  works,  they  made  some  marked  im- 
provements ;  and  to  them  we  are  indebted  for  the  first  form  of  the 
instrument  known  as  "  Amatise."  Hieronymus  died  a  few  years 
later  than  his  brother  Antonius,  and  was  the  more  skilful  workman. 

Nicholas  Amati,  the  greatest  maker  of  Violins,  Violoncellos, 
etc.,  of  this  illustrious  family,  was  born  in  Cremona,  1596,  and  died 
1684.  He  was  the  son  of  Hieronymus.  His  works  bear  the  stamp 
of  genius,  and  are  only  inferior  to  his  great  pupil.  Ant.  Stradiuarius. 
He  has  made  Violins  of  various  patterns,  many  of  a  small  size. 
About  the  year  1625,  he  began  to  produce  his  famous  Violins,  known 
under  the  name  of  Grand  Amati's,  being  in  larger  proportions,  and 
having  an  outline  of  great  beauty  and  elegance.  The  model  is  raised, 
declining  from  the  foot  of  the  bridge  to  the  outer  edge,  forming  a 
slight  groove  where  the  purfling  is.  The  effect  of  this  arrangement 
ensures  sweetness  of  sound.  The  material  used  was  of  the  very  best 
description  and  quality  as  to  acoustic  requirements.  The  purfling 
and  finish  were  only  surpassed  by  Stradiuarius  ;  and  the  varnish  is  of 
a  most  brilliant  golden  color. 


6  The  Violin. 

Antonius  Stradiuarius,  born  in  Cremona  1644,  died  1737-  He 
was  undoubtedly  the  most  remarkable  and  famous  Violin  maker  ot 
all  ;  and  his  name  is,  as  it  were,  familiar  all  over  the  civilized  world. 
He  was  a  pupil  of  Nicholas  Amati,  and  worked  with  that  master  till 
the  year  1668.  About  that  time,  he  made  some  Violins  after  the 
model  of  his  master;  and  into  these  he  placed  Nicholas  Amati  labels. 
About  1668,  he  left  Nicholas  Amati's  workshop,  and  worked  on  his 
own  account,  but  still  after  the  ordinary  sized  Amati  Violin  ;  and  did 
not  introduce  the  Grand  pattern  until  about  the  year  1686.  From 
this  time,  he  gradually  leaves  the  exact  Amati  pattern,  makes  his 
Violins  flatter,  cuts  his  sound-holes  more  perfectly  and  gracefully* 
pays  more  attention  to  the  scroll,  improves  the  color  of  his  varnish, 
and  formed  the  general  appearance  of  his  instruments  more  to  his 
own  individual  fancy.  His  violins  made  between  the  years  1686-96 
are  known  under  the  name  of  Stradiuarius  Amatise,  and  another 
form  named  the  long  Strad.  But  from  the  year  1700,  Stradiuarius, 
*hen  in  his  57th  year,  began  to  surpass  all  his  former  efforts,  which 
seemed  to  have  been  only  preliminary  measures  to  this,  the  golden 
period  of  his  life.  The  instruments  made  by  him  from  1700  to  about 
1725  are  of  a  beauty  and  perfection  not  possible  to  describe;  and 
must  be  seen  and  compared  with  other  makers'  instruments,  even  his 
own  from  later  and  former  periods,  to  be  appreciated.  He  made  over 
a  thousand  instruments.  These,  with  those  of  Joseph  Guarnerius 
and  his  pupils.  Carlo  Bergonzi,  etc.,  mark  the  period,  from  which  to 
the  present  time,  there  has  been  no  progress  made  in  the  science  of 
making  Violins.  None  made  by  modern  makers  Can  rival  the  above- 
named  great  masters  in  high  finish,  varnish,  or  beauty  of  tone. 

As  there  is  no  doubt  that  we  have  had,  and  have  at  the  present 
time,  intelligent  and  well-educated  makers  of  violins,  etc.,  in  every  part 
of  Europe  and  America,  and  that  there  is  no  great  difficulty  in  finding 
suitable  wood  and  materials  for  making  them,  there  must  be  some  other 
reason  for>the  superiority  of  the  old  makers,  and  which  I  will  try  to 
explain  by-and-by  ;  also  the  cause  of  the  failure  to  produce  an 
equally  brilliant  varnish. 


The    Violin.  7 

There  was  another  great  genius,  a  maker  of  violins,  and  his 
name  was  Joseph  Guarnerius,  also  known  under  the  appellation  of 
Giuseppe  del  Jesu  ;  he  was  born  in  Cremona,  1683,  and  died  1745. 
There  is  some  doubt  as  to  his  apprenticeship.  I  am  inclined  to  be- 
lieve that  he  worked  both  with  Stradiuarius  and  his  cousin  Andreas 
Guarnerius,  for  the  simple  reason  that  he  was  a  genius  of  inquiring 
mind,  and  could  hardly  help  finding  out  how  they  proceeded  in  their 
works,  though  he  was,  perhaps,  irregular  in  attendance,  and  soon 
followed  his  own  ideas  and  inclinations,  and  worked  for  himself.  In 
his  best  time  he  produced  violins  made  with  the  best  materials, 
excellent  form  and  proportions,  and  a  wonderfully  fine  and  brilliant 
varnish,  and  these  violins  can  be  placed  by  the  side  of  the  Stradiuarius 
violins  of  the  best  period,  except,  perhaps,  that  they  want  that 
master's  high  finish.  The  violin  used  by  Paganini  belonged  to 
Joseph  Guarnerius'  best  period.  This  maker  was  married,  but  as  he 
was  of  irregular  habits  and  too  fond  of  wine,  his  family  life  was  not 
happy.  He  died  in  prison,  were  he  had  been  incarcerated  some 
years,  and  the  violins  he  made  in  prison  are  inferior,  as  he  had  to 
work  up  with  poor  tools  the  materials  brought  to  him  by  the  jailer's 
daughter. 

The  Construction  of  the  Violin. 

We  will  now  consider  theViolin  as  to  its  form,  constituent  parts, 
varnish,  etc. 

TheViolin  in  its  present  form  and  outlines  has  remained,  with 
only  minute  alterations,  the  same  as  in  the  i6th  century.  Stradiuarius 
brought  it  to  the  highest  perfection,  but  made  no  additions  to  its 
several  parts.  On  the  form  or  model  depends  the  quality  of  sound  ; 
a  high  built  Violin  like  those  of  Amati,  Stainer,  etc.,  is  soft  in  tone ; 
flat  built  Violins,  like  Joseph  Guarnerius',  Storioni's,  etc.,  are  loud 

often   very  powerful,  with    great   carrying  qualities  ;  the  medium 

form  of  Stradiuarius,  his  pupils,  etc.,  have  both  mellowness  and 
power,  and,  therefore,  the  most  satisfactory  quality. 


8  The    Violin. 

The  various  parts  of  the  Violin  are  about  58.  The  back  is 
either  in  one  or  two  pieces,  the  belly,  of  the  finest  quality  of  pine, 
made  from  one  piece,  divided  into  2  so  that  the  narrow  graihs  join 
in  the  middle;  the  sides  in  6  pieces,  the  linings  12  pieces,  sound- 
post,  bridge,  neck,  finger-board,  nut,  4  pegs,  blocks,  purfling,  tail- 
piece and  strings. 

Belly  and  Back  of  Violin. 

The  most  important  part  as  to  sound  is  the  belly,  the  grain  in 
the  pine  running  straight  and  close  together  ;  but  as  it  cannot  be 
found  with  the  grain  running  at  equal  distances,  it  is  usually  found 
best  to  have  the  finer  grain  in  the  middle,  and  let  the  larger  run 
towards  the  sides.*  As  to  the  proper  thickness,  much  depends  on 
the  quality  of  the  wood  and  the  form  ;  flat  built  Violins  are  thicker  in 
wood  than  high  built  ones.  Nearly  all  the  bellies  of  sound  Violins 
that  I  have  examined  were  about  as  thick  again  in  the  middle,  from 
I  inch  behind  the  bridge  to  3  before  it,  egg  shaped,  then  running  off 
gradually  to  the  purfling. 

Those  Violins  which  are  of  the  same  thickness  all  over  are  either 
scraped  out,  which  is  very  often  the  case,  or  badly  made.  The 
back  is  made  of  hard  wood,  stronger,  and  nearly  corresponds  with 
the  belly  in  form.  The  belly  is  the  vibrating  part,  and  the  back 
must  resist  the  pressure  and  great  vibration,  and  throw  the  tone  out, 
a%  it  were,  through  the  sound  holes.  The  difFerenpe  of  vibrations 
of  back  and  belly  ought  to  be  like  C  to  Dj 


*  I  may  here  inform  my  readers  that  I  have  taken  a  patent  for  a  new 
sound-board  made  of  hard  and  soft  wood,  so  that  the  grains  run  in  perfectly 
straight  lines,  and  can  be  arranged  to  run  at  any  distance ;  the  consequence 
is  superior  sonority.  Many  American  piano-makers  have  promised  to  try  it, 
and  I  am  confident  if  fairly  tried  it  will  be  used  in  preference  to  the  present 
sound-board.  It  requires  at  first  an  outlay  for  new  cutting  machines,  but  the 
saving  in  the  wood  will  be  very  great,  as  all  the  wood  is  used  up,  nothing 
has  to  be  thrown  away,  and  half  the  usual  time  for  drying  is  sufficient. 


/ 


The   Violin.  9 

The  blocks,  linings,  etc.,  in  the  Violin,  and  the  weight  and 
position  of  neck  and  head,  have  a  good  deal  to  do  with  the  sound. 
Savard  and  others  have  proved  that  a  Violin  without  neck  and  head 
loses  much  of  its  tone.  A  piece  of  wood,  usually  ebony,  called 
Violin  holder,  has,  since  the  great  violinist  Spohr  recommended  it, 
come  niuch  in  use;  it  facilitates  the  holding  of  the  Violin,  protects 
that  part  of  the  Violin  where  the  neck  rests,  and,  if  well  made,  so  as 
to  keep  the  pressure  from  the  vibrating  part  of  the  belly,  does  not 
prevent  the  vibration  as  ^rrfuch  as  the  chin,  and  perhaps  a  large 
beard.  I  once  tried  a  small  block  of  wood  attached  to  the  lower 
part  of  the  tail-piece  ;  it'  improved  the  tone  by  balancing  the  Violin  in 
the  middle,  I  suppose. 

The  Bar. 

The  bar,  a  piece  of  pine  wood,  for  the  purpose  of  strengthen- 
ing and  regulating  the  quality  of  sound,  is  thin  at  the  ends,  and  gradu- 
ally rising  in  height  to  the  middle,  runs  under  the  G  string  about  three- 
fourths  of  the  length  of  the  Violin  ;  the  length,  height,  thickness 
and  position  depend  on  the  build  of  the  Violin;  if  it  is  a  new  one, 
with  plenty  of  wood,  the  bar  need  not  be  strong  nor  very  long,  nor 
fitted  in  with  much  spring  ;  it  mav,  indeed,  be  put  in  quite  straight  ; 
,but  in  an  old  Violin,  particularly  in  one  rather  weak,  it  ought  to  run 
fin  the  direction  of  the  G  string,  right  under  it,  and  with  more  wood 
and  spring  in  it  fully  sufficient  to  counteract  the  pressure  of  the  strings. 
jThe  wood  must  be  very  old,  and  the  grain  run  quite  straight.  To 
give  the  necessary  spring  to  a  bar,  I  consider  the  best  way  is  to  cut 
it  to  the  right  size,  to  see  that  it  fits  well  in  the  place,  and  then 
before  gluing  it  on  to  take  a  little  of  the  wood  off  gradually  from  the 
middle  to  both  ends,  so  that  it  does  not  fit  any  more.  Then  when 
gluing  it  on  it  must  be  pressed  on  both  ends  with  a  little  force,  and 
kept  down  till  dry  and  firm.  If  the  third  and  fourth  strings  have 
not  sufficient  force  after  such  an  operation,  the  bar  has  not  the 
proper  position  or  not  enough  spring,  and  must  be  changed.  The 
same  must  be  done  if  the  notes  will  not  come  out  free,  as  then  there 


10  The    Violin. 

is  too  much  spring  given,  and  the  pressure  of  the  strings  is  insufficient 
to  counteract  it. 

Bridge  and  Sound-post. 

Finally,  I  come  to  2  small  loose  pieces  of  wood  called  bridge 
and  sound-post,  or,  as  the  French  call  the  latter  so  appropriately, 
Pame^  or  the  soul  of  the  Violin.  These  2  little  pieces  play  a  very 
important  part  in  giving  the  quality  of  the  sound.  The  sound-post 
is  made  of  very  old  pine,  and  loosely  fitted  into  the  Violin ;  the  grain 
is  generally  put  crossways  to  that  of  the  belly.  The  sound-post  has 
a  nearly  fixed  position  about  one-quarter  of  an  inch  behind  the  right 
foot  of  the  bridge,  but  its  exact  position  is  only  to  be  determined  in 
conjunction  with  the  bridge.  The  bridge  carrying  the  strings  is  cut 
in  that  peculiar  form  with  the  view  of  having  strength  with  the  least 
amount  of  wood,  thus  producing  the  greatest  amount  of  vibrations. 
The  height,  width  and  thickness  a  bridge  ought  to  have,  can  only  be 
calculated  with  reference  to  the  model  of  the  instrument.  The 
higher  the  build  of  the  Violin  the  lower  should  be  the  bridge.  Its 
position  is  usually  between  the  two  niches  marked  in  the  sound- 
holes. 

Varnishes. 

Varnishes  are  prepared  with  oil,  spirit  or  other  fluid.  It  is  the 
opinion  of  eminent  men  who  have  made  researches  as  to  the  cause, 
why  the  art  of  making  varnish  resembling  that  of  the  old  masters  is 
lost,  as  no  instrument,  not  even  from  Italy,  within  a  century,  can 
compare  with  a  fine  Strad,  Joseph  Guarnerius,  Amati  or  any  of  the 
makers  of  that  period.  It  is  believed  the  cause  is  that  the  gum 
amber,  or  chief  ingredient  composing  that  varnish,  came  to  the 
Italian  markets  about  that  time  as  a  regular  branch  of  commerce, 
perhaps  from  the  interior  of  Africa,  and  has  for  some  reason  discon- 
tinued so  to  arrive  or  to  be  imported.  Also  genuine  dragon-blood, 
for  coloring  matter,  which  is  quite' transparent,  and  easily  dissolved  in 
an  oily  fluid,  is  no  more  found  in  the  European  markets,  and  the 
English  imitation  of  it  is  very  inferior  and  not  so  transparent. 


The    Violin.  11 

I  have  known  and  know  some  modern  Violin  makers  who  come 
very  near  the  old  varnish  in  their  imitations.  In  London,  John 
Oliver  Lott,  who  was  frequently  employed  by  Vuillaume,  in  Paris, 
for  difficult  imitations,  his  brother,  George  Lott,  Carter  who  worked 
for  Davis,  in  Coventry  street,  Fendt,  W,  Hill  and  others.  In 
America,  George  Gemunder,  in  New  York;  Maclett,  in  Chicago; 
F.  Albert,  in  Philadelphia  ;  White,  in  Boston.  The  varnish  has 
much  to  do  with  the  quality  of  sound.  A  new  Violin  unvarnished 
sounds  loud,  and  is  softened  by  an  oil  varnish.  Spirit  varnish,  which 
dries  quickly,  is  often  used  on  that  account,  but  does  not  give  so  good 
a  quality  to  the  tone  of  a  Violin.  In  my  opinion  Stradiuarius, 
Guarnerius,  Amati  and  other  celebrated  makers — whose  varnishes 
are  full  of  fire  and  brilliancy — have  two  coats,  first  the  golden 
yellow,  then  the  red  or  darker  color. 

The  Arrangement  of  the  Bridge  and  Sound-post. 

Having  said  as  much  about  the  difi^erent  parts  of  the  Violin,  I 
return  to  bridge  and  sound-post  to  explain  what  experience  of  many 
years  with  the  best  makers  in  Paris,  London,  and  Brussels  has  taught 
me  about  it. 

I  am  certain  that  most  Violins  can  be  improved,  simply  by  a 
judicious  arrangement  of  bridge  and  sound-post,  and  I  can  tell  by  a  few 
minutes'  examination  whether  a  Violin  is  well  made  and  sound  has 
a  proper  bar,  and  proper  position  of  bridge  and  sound-post. 

There  is  hardly  a  Violin  of  the  old  makers  to  be  found  in  its 
original  condition,  as  the  bar  has  to  be  changed  to  give  more  resist- 
ance to  the  present  high  pitch,  which  is,  in  my  opinion,  too  high  for 
the  production  of  the  best  quality  of  sound. 

To  arrange  a  bridge  on  a  Violin  according  to  the  position  of  any 
fingerboard  is  decidedly  wrong.  The  bridge  must  be  calculated  accord- 
ing to  the  form  of  the  Violin.  A  flat  Stradiuarius  or  Jos.  Guarnerius, 
will  carry  a  bridge  of  i  inch  and  ^  high,  i3/^  inches  across  the  top, 
and  a  little  less  across  the  feet  ;  it  should  not  stand  quite  straight,  but 


12  The    Violin. 

slightly  backward,  so  that  the  strings  over  the  bridge  form  an  even 
angle.  To  save  a  good  bridge,  cut  one  or  two  extra  notches  for  pull- 
ing up  the  E  strings. 

The  bridge  ought  to  be  tried  with  the  sound-post,  in  different 
positions,  to  find  out  where  it  sounds  best ;  if  the  Violin  is  a 
valuable  one,  and  the  player  is  desirous  of  having  it  arranged  in  the 
best  possible  manner,  several  bridges,  cut  slightly  different  in  height 
and  width,  ought  to  be  tried,  the  best  retained,  and  then  only  ought 
the  fingerboard  be  adjusted  according  to  the  bridge,  after  which  it 
must  be  tried  again  to  see  whether  it  souuds  as  well,  as  the  slightest 
difference  of  place  will  affect  the  sound.  Whoever  says  that  the 
proper  places  can  be  determined  by  the  eye  alone  is  wrong,  and  I  can 
prove  it  in  a  few  minutes. 

I  have  found  that  repairers  do  not  give  that  important  considera- 
tion to  bridge  and  post  which  is  necessary,  and  from  the  remarks  of 
some  I  learned  that  they  could  not  know  much  about  it. 

I  heard  an  instrument  maker  say  to  a  gentleman  who  came  to 
have  a  new  bridge  put  on  a  Violin  that  he  had  the  exact  model  of 
Signor  Sivori's  bridge,  and  would  make  him  a  similar  one  ;  such  and 
the  like  expressions  are  absurd  ;  every  Violin  must  have  a  bridge 
fitted  according  to  its  construction,  and  there  are  hardly  two  Violins 
alike.  It  is  true  that  many  players  come  to  instrument  makers  asking 
how  much  will  a  bridge  cost,  and  are  not  inclined  to  give  more  than 
about  50  cents;  then  nothing  else  can  be  expected  than  one  put  on 
quickly  if  it  is  a  worthless  instrument  ;  but  if  a  Violin  is  well  made, 
of  a  good  maker,  and  of  some  value,  then  the  instrument  maker 
ought  to  advise  a  careful  trial  with  more  than  one  bridge,  as  there  is 
a  great  difference  in  the  vibrating  qualities  of  bridges.  Three  bridges 
cut  exactly  alike,  so  that  no  difference  can  be  detected  by  the  eye, 
will  produce  different  qualities  of  sound.  It  is  also  necessary  that  a 
tolerably  good  player  should  try  the  different  degrees  of  tone,  as  well 
as  the  various  positions  during  arrangements  of  bridge  and  post. 
Now  if  the  quality  of  tone  of  a  Violin  is    very  soft,  a    hard    bridge 


The    Violin.  13 

will  give  it  brilliancy  ;  if  it  is  hard  and  loud,  as  often  in  new  Violins, 
a  softer  bridge  and  more  wood  in  thickness,  and  the  feet  not  cut  too 
fine,  will  mellow  the  tone,  and  this  can  sometimes  be  gained  by  a  little 
thicker  post  being  used.  The  bridge  moved  nearer  the  post  will  give 
brilliancy  ;  if  moved  too  near  the  tone  becomes  hard.  The  sound- 
post  moved  a  little  nearer  the  bar  will  soften  the  ist  and  2d  strings, 
and  give  fullness  to  the  3d  and  4th  ;  if  moved  nearer  to  the  sound- 
hole  the  first  string  will  have  more  brilliancy.  I  would,  however, 
advise  professors  and  amateurs  not  to  make  experiments  on  good 
Violins  themselves,  as  the  instruments  are  very  easily  damaged,  but 
to  get  an  experienced  repairer  or  instrument  maker  to  do  it  for  them. 
From  experience  I  can  recommend  G.  Gemunder  and  Konig  in  New 
York  ;   White  in  Boston  ;  and  C.  Albert  in  Philadelphia. 

Having  had  the  pleasure  and  honor  of  the  personal  acquaintance 
and  friendship  of  many  eminent  artists,  as  Ernst,  my  master,  Jpa- 
chim,  Vieuxtemps,  Wieniawski,  Wilhelmj,  Sivori,  Sainton,  Carrodus, 
and  most  of  the  celebrated  artists  who  visited  London  during  30 
years,  and  having  played  with  them  at  my  own  Beethoven  Society, 
and  Reunion  des  Arts  Concerts,  of  which  I  gave  about  20  yearly 
for  over  10  years,  as  also  at  Mr.  Ella's  Musical  Union,  over  ifyears, 
I  know  how  particular  these  artists  are  about  their  instruments,  and 
when  any  alteration  is  required. 

About  a  year  ago  I  called  one  day  on  Wieniawski  at  the  Belve- 
dere Hotel,  New  York  ;  he  was  playing,  but  very  much  displeased 
with  his  Stradiuarius  Violin,  which  had  a  new  bridge  on  that  did  not 
produce  the  same  fullness  and  brilliancy  of  tone  as  did  his  old  worn 
out  bridge.  I  looked  at  it  and  told  him  that  it  was  not  at  all  suited 
to  his  violin,  went  with  him  to  Konig,  a  very  good  violin  maker  and 
repairer,  in  the  Bowery,  New  York,  and  had  a  few  bridges  cut  to 
what  I  thought  the  proper  height,  width,  and  thickness  for  his  Strad.; 
he  tried  them  and  was  much  surprised  to  find  that  the  second  bridge 
he  tried  was  so  far  superior  to  the  others  that  he  expressed  his  warm- 
est   thanks    to    me   and  Mr.  Konig,  and  said  that  his   Violin   never 


14  The    Violin. 

sounded  so  well  since  he  had  it  in  his  possession.  I  gave  similar 
hints  to  Mr.  Matzka  in  regard  to  bridges  for  his  excellent  Violins, 
and  which  he  also  proved  on  Mr.  Havemeyer's  Joseph  Guarnerius, 
also  to  Mr.  Bergner  about  a  bridge  for  his  Violoncello,  and  they  ex- 
pressed to  me  their  entire  satisfaction  with  the  result. 

Strings. 

The  thickness  of  strings  is  to  be  calculated  according  to  the 
;>trength  of  the  violin.  A  well-made  flat  violin,  with  a  strong  bar, 
will  carry  thicker  strings  than  an  old  high-build  violin,  with  a  weak 
bar. 

I  will  now  venture  to  give  my  opinion  as  to  the  reason  why 
new  Violins  are  not  as  good  in  quality  of  sound  as  old  Violins,  and 
not  only  those  of  the  old  celebrated  makers,  but  also  of  inrc/ior  old 
made  Violins  put  together  by  carpenters,  or  even  amateurs. 

There  is  no  doubt  that  age,  the  influence  of  the  atmosphere, 
and  much  playing,  are  necessar)-  for  even  the  best  made  Violins,  to 
bring  the  vibrating  qualities  to  perfection,  and  I  have  no  doubt  that 
the  Violins  of  the  great  makers  were  hard  and  rough  in  tone  when 
first  made,  similar  to  new  Violins  of  the  present  day.  A  proof  of  this  is, 
that  in  Italy  and  other  places,  the  Stradiuarius,  Guarnerius,  Storioni 
Violins,  etc.,  have  only  become  favorites  within  the  last  50  or  60 
years.  Before  that  time  Gaspa  di  Sala,  Maggini,  Amati,  Stainer  and 
others  had  the  preference. 

I  have  often  played  on  Violins  by  Stradiuarius,  Guarnerius,  etc., 
in  the  Collections  of  Messrs.  Plowden,  Gillott,  Vuillaume,  Bon- 
jour  and  others,  which  had  not  been  played  upon  for  years,  and  some 
were  in  such  a  perfect  state  of  preservation,  that  they  could  hardly 
have  been  used  at  all,  and  I  found  that  they  were  decidedly  hard  in 
tone,  resembling  new  Violins.  That  such  a  Violin  having  great  age 
in  its  favor  will,  if  much  played  on,  quickly  improve  is  natural. 

There  are  plenty  of  good  Violin  makers  at  the  present  day  who 
work  after  the  models   of  the  celebrated   masters,  use  good  material. 


The    Violin.  15 

plenty  of  wood,  and  do  not  bake  or  chemically  spoil  it  ;  I  have  no 
doubt  that  such  instruments,  with  a  good  oil  varnish,  and  after  being 
played  lO  to  2o  years,  will  have  a  good  quality  of  tone.  I  played  on 
Violins  by  Vuillaume,  Chanot,  Gand,  and  Miremont,  Parisian  ;  W. 
Hill,  Wither,  English  ;  and  George  Gemunder  and  White,  etc., 
American  makers,  which  were  made  about  lO  to  30  years  ago,  and 
the  quality  of  their  sound  is  already  very  fine.  "  Ether  blown  against 
the  inside  of  a  new  belly  top  will  evaporate  a  portion  of  the  rosin  and 
thereby  assist  the  vibrating  qualities." 

Mr.  Eckert,  in  Columbus,  Ohio,  iMr.  Kieckhofer,  in  Washing- 
ton, Dr.  Damainville,  in  New  York,  and  Mr.  Anton,  in  St.  Louis, 
have  Violins  by  Gemunder,  10  to  25  years  old,  with  splendid  quali- 
ties of  sound,  great  power,  and  fine  amber  varnish.  Konig  made  a 
copy  of  Mad.  Devernd's  Strad.,  of  good  tone  and  varnish. 

Value  of  Instruments. 

It  may  interest,  and  also  surprise  some  of  my  readers  when  I 
state  some  of  the  prices  given  and  offered  for  Violins,  etc.,  of  the 
celebrated  makers.  1  have  known  Messrs.  Goding  and  Fountain, 
collectors  of  Cremona  Violins,  etc.,  have  been  with  John  Day  and 
other  artists  to  see  Mr.  Gillott's  collection  at  Edgbaston,  and  with 
Herr  Joachim  to  see  Mr.  Plowden's,  and  we  tried  some  of  Mr. 
Plowden's  best  Violins  against  Joachim's  in  Hanover  Sq.  Herr 
Joachim  and  Herr  Strauss  bought  Stradiuarius  Violins  from  the 
Plowxlen  collection  at  ^^300  each.  I  was  also  present  at  the  public 
sales  of  the  above  collections  when  some  of  the  Violins  brought 
;^200,  and  ^^"300,  the  King  Guarnerius  ^700  under  the  hammer. 
These  instruments  are  now  worth  500  to  800  guineas.  Mr.  J.  B. 
Waters,  DeKalb  Ave.,  Brooklyn,  has  also  a  fine  Joseph  Guarnerius 
Violin  of  the  Plowden  collection,  rich  golden  color,  large  pattern, 
1737,  valued  at  3000  dollars  gold.  Wilhelmj's  Stradiuarius  Violin, 
which  I  knew  for  sale  before  he  bought  it,  I  recommended  for  its  splen- 
did tone;  it  was  purchased  for  I  think  3000  thalers,  but  Wilhelmj  has 


16  The   Violin. 

since  refused  S5000.  I  have  read  a  letter  written  bv  Mr.  Hart  from 
London,  to  Mr.  Bonjour,  an  amateur  gentleman  in  Paris,  who  has  a 
fine  collection  of  Violins,  Violas,  Violoncellos,  etc.,  offering  him  one 
thousand  two  hundred  pounds  sterling  for  a  Stradiuarius  Violoncello, 
which  Mr.  Bonjour  would  not  part  with,  even  for  that  sum.  High 
as  these  prices  are  I  have  no  doubt  that  they  will  still  advance  as  the 
demand  becomes  larger,  not  unlike  to  the  high  prices  given  for  old 
pictures. 

There  are  already  Violins  like  Paganini's  which  no  money  could 
purchase,  and  if  they  are  once  collected  for  museums  the  prices  de- 
manded will  be  fabulous. 

Violins  played  by  Former  and  the  P  resent 
Celebrated  Artists, 

Paganini  played  on  a  Joseph  Guarnerius. 

Ernst  on  a  Stradiuarius  from  Coding's  Collection. 

Spohr  on  a  Stradiuarius  and  J.  Guarnerius. 

De  Beriot  on  a  Maggini. 

Moligne  on  a  Stradiuarius. 

Joachim  plays  on  a  Stradiuarius. 

Wieniawski  on  a  Stradiurarius. 

Vieuxtemps  on  a  Joseph  Guarnerius. 

Sivori  on  a  Vuillaume  (doubtful). 

Wilhelmj  on  a  Stradiuarius. 

Sainton  on  a  Guadagnini  and  J.  Guarnerius. 

Madame  Norman  Neruda  on  a   Stradiuarius,   formerly  belonging 

to  Ernst. 
Madame  Camilla  Urso  on  a  Joseph  Guarnerius. 
Ludwig  Strauss  on  a  Stradiuarius. 
Carrodus  on  a  Joseph  Guarnerius,  filius  Andreas. 


The   Violin,  17 

Bows. 

I  will  not  close  this  subject  without  saying  a  few  words  about 
Violin  Bows  and  their  makers,  as  a  good  Bow  is  indispensable  to  an 
artistic  performance  on  the  Violin  ;  indeed,  it  may  be  termed  the 
magic  wand  of  the  violinist.  I  will  only  go  back  to  the  earliest 
period  when  the  Violin  Bow  received  something  like  the  present  shape, 
so  that  the  haii  could  be  stretched  at  the  will  of  the  player.  Corelli, 
about  the  year,  1680,  was  one  of  the  first  using  such  a  bow  ;  then 
came  Tartini,  who  improved  it,  as  also  did  Tourte,  the  father  of 
Francois  ;  the  early  bows  run  up  straight  to  a  point  ;  but  it  was 
Francois  Tourte  who  brought  the  Violin  Bow  to  perfection,  and  to 
such  a  degree  that  since  his  time  none  have  surpassed  nor  even  equaled 
him,  in  giving  the  necessary  spring  and  force  combined  with  lightness 
to  the  Bow. 

The  value  of  a  fine  Tourte  Bow  is  now  about  100  dollars,  and 
they  are  only  rarely  found  at  that  price.  Last  summer  when  I  was  in 
London  and  Paris  looking  out  for  fine  Violin  Bows,  I  could  only  ob- 
tain four,  at  high  prices,  in  London  and  none  in  Paris.  Gand  and 
other  instrument  makers  had  none,  and  Mons.  Bonjour  and  Louis 
d'Egville  who  had  some,  would  not  part  with  them. 

The  best  Bows  after  Tourte  are  Dodd,  Lupot,  Tubbs,  Kittle, 
Weichold,  Bausch,  Grimm  and  Vuillaume. 


DICTIONARY 

— OF — 

VIOLIN  MAKEES. 


ACEVO,  1640.     Cremona,  very  good,  in  the  An\ati  style. 
ADDISON,  WILLIAM,  London,  1670. 
AIRETON,  EDWARD,  London,  1730-1800. 

ALDRED, London,  Lute  and  Violin  maker. 

ALETZIE,  PAULO,  Monaco,  1720-30.     Famous  for  his  Cellos. 
ALBANESI,  MATTHIAS,  born  at  Botzen  or  Bulsani,  in  the  Tyrol,  about 

1621  ;  highly  esteemed.       Said  to  be  a  pupil  of  Nicholas  Amati.      High  • 

model,  with  reddish  brown  varnish, 
ALBANI,  PAOLO,  1659;  was  also  under  Nicholas  Amati. 
AMATI,  ANDREAS,  Cremona,  born  1520,  died  1580. 
AMATI,  NICHOLAS,  brother  of  the  above. 
AMATI,  NICHOLAS,  son  of  Andreas. 
AMATI,  ANTONIUS  and  HIERONYMUS,  sons  of  Andreas.  1550  to  1634, 

made  Violins  together,  but  some  separately. 
AMATI,  NICHOLAS,  born  1596,  died  1684,  son  of  Hieronymus.      This  was 

the  greatest  maker  of  the  Family. 
AMATI,  ANTONIO  JEROME,  1640  to  1670. 
AMATI,  HIERONYMUS,  son  of  Nicholas,  born  1649.  said  to  be  the  last 

of  the  Family, 
AMBROGI. 

ANSELMO,  PIETRO,  Venezia,  i8th  century, 
ARTMANN,  GOTH  A,  Cremona  pattern. 
ASSALONE,  Gaspard,  Rome,  i8th  century,  Cremona  models. 

B 

BACHMANN,  LOUIS  CHARLES,  Berhn,  born  I7i6,dicd  1800;  considered 

one  of  the  best  German  makers.     They  are  of  the  flat,  Stradiuarius  model. 

amber  varnish,  and  re   ^mble  the  Cremonese  closely.    Otto  considers  them 

next  in  point  of  qualii,, . 

(18) 


Dictionary  of  Violin  3Iakers.  19 

BAGATELLA,  PIETRO,  Padua,  1766. 
BAGATELLA,  ANTONIO,  Padua,  1782. 

BAINES, London,  about  1780. 

BAKER, Oxford,  about  1720, 

BALESTRIERI,  THOMAS,    i8th  century.     This   excellent   maker  was  a 

pupil  of  Stradiuarius,  and  made  after  his  model,  with  fine  reddish  yellow 

varnish. 
BALESTRIERI,  PIETRO,  Cremona,  rather  earlier  than  Thomas. 
BANKS,  BENJAMIN,  Salisbury.     Born  1727,  died  1795.     Forster  calls  him 

"one  of  England's  best  makers."     His    Cellos   in  particular  are  good, 

chiefly  of  the  Amati  pattern  ;  varnish  not  very  brilliant. 
BANKS,  BENJAMIN,  son  of  the  former,  London,  born  1754,  died  1820. 
BANKS,  JAMES  and  HENRY,  Salisbury,  other  sons  of  the  same.    James 

was  an  excellent  workman,  and  dates  about  1805. 
BARRETT,  JOHN,  London,  about  1725.     He  made  some  instruments  of 

very  good  tone,  but  rather  inferior  workmanship. 
BARTON,  GEORGE,  London,  died  1810. 
BAUCH,  Leipzig. 

BEKMAN,  SWENO,  Stockholm,  1706. 
BELLOSIO, Venetian  maker,  1 8th  century.     Similar  to  Sanctus  Sera- 

phino  in  pattern. 

BENOIST, Paris,  i8th  century. 

BENTE,  MATTEO,  Brescia,  about  1580;  a  maker  of  merit  in  the  style  of 

Gaspar  di  Salo  and  Maggini. 
BAGANZI,  FRANCISCO,  Cremona,  1687. 
BERGONZI,  CARLO,  Cremona,  1712  to  1755;  considered  by  authorities  to 

be  the  best  pupil  of  Stradiuarius.    He  made  instruments  of  the  same  beau- 
tiful and  brilliant  tone  which  rendered  his  master  so  famous. 
BERGONZI,  NICHOLAS,  son  of  Carlo. 
BERGONZI,  MICHAEL  ANGELO,  another  son  of  Carlo. 

BERNADEL, Paris,  i8th  century. 

BETTS,  JOHN  and  EDWARD.     London,  1790-1823.     They  were  said  to 

be  pupils  of  Duke ;    and    chiefly    imitated    the    Cremona    instruments. 

They  gained   a  good  reputation  both  at  home  and  abroad. 
BRINTERNAGLE, Gotha,    i8th  century;    a  German   imitator  of  the 

Cremona  Violins. 
BOCQUAY,  JAQUES,  Paris,  1620;  highly  esteemed  in  France, 

BODIO, Venezia,  i8th  century. 

BOLLES, English,  1675. 


20  Dictionary  of  Violin  3Iakers. 

BORELLI,  ANDREAS,  Parma,  1740. 

BOULLANGIER, London. 

BREMEISTER,  JAN.,  Amsterdam,  1707. 
BROSCHI,  CARLO,  Parma,  1744. 
BRETON,  (Le),  Paris. 
BROWN,  JAMES,  born  1760,  died  1834. 
BROWN,  JAMES,  son,  born  1786,  died  i860. 

BUCHSTADTER, Ratisbon,  i8th  century  ;  a  good  German  maker. 

BUDIANI,  JAVIETTA,  Brescia,  about  1580.     Made  after  the  style  of  Gas- 
pard  di  Salo  and  Maggini, 


CAEStA,  PIETRO  ANTONIO  DELLA,  Trevisa,   i8th  century,  imitated 

Stradiuarius. 
CAMILAS,   CAMILE,    (de),   Mantua,  1720;   esteemed  as  a  pupil  of  Stra- 
diuarius. 
CAPPA,  GIOFREDA,  at  Cremona  in  1590,  and  Piemont  in  1640;  pupil  of 

Nicholas  Amati. 
CAPPA,  GUISEPPE,  Saluzzo,  end  of  i6th  century. 

CAPPER, (or  Cappa),  Mantua, 

CARTER,  JOHN,  London,  1789. 

CARLO,  GUISEPPE,  Milan,  1769. 

CASSINO,  ANTONIO,  Modena,  17th  century. 

CASTAGNERI,  JEAN  PAUL,  Paris,  1639  to  1662,  considered  one  of  the 

best  old  French  makers. 
CASTAGNERI,  ANDREA,  Paris,  i8th  century. 
CASTRO,  CELIONTUS. 

CHANOT, Mirecourt,  France,  i8th  century.  « 

CHANOT, Paris,  now  living. 

CHANOT,  GEORGE,  London,  now  living. 

CHAPPUIS,  (or  Chappuy),  AUGUSTINE,  about  1710. 

CHARLES,  THERESS,  London,  now  livin*. 

CHERUTHI, Mirecourt,  i8th  century. 

CHEVRIER, Paris,  i8th  century. 

CHRISTA,  JOSEPH  PAUL,  Munich,  1730. 

CHRISTOPHORI,  BARTOLOMEO,  Florence,  i8th  century. 

CIRCAPA,  THOMASO,  Naples,  1730,  resembles  Gagliano. 

CLARK, London. 

COLE,  THOMAS,  London,  1690. 


UNIT 


Dictionary  of  Violin  Makers.  21 


COLLINGWOOD,  JOSEPH,  London,  i8th  century. 

CONTRERAS,  JOSEPH,  Madrid,  1745. 

CORSBY,  GEORGE,  London,  1830-60. 

COSTA,  PIETRO,  della  Treviso,  1660-90. 

CONWAY,  WILLIAM,  1745. 

COLLIER,  SAMUEL,  1755. 

CRASK,  GEORGE,  Cremona  imitator. 

CROWTHER,  JOHN,  1755  to  1810. 

CROSS,  NATHANIEL,  London,  about  1720. 


D 


DARDELLI,  PIETRO,  Mantua,  1500. 
DAVIS,  WILLIAM,  London.  1800-1840. 
DECOMBRE,  AMBROISE,  Tournay,  1700  to  1735. 
DESPONS.  ANTOINE,  Paris,  about  1725. 
DIEHL,  NICHOLAUS,  Darmstadt,  17th  century. 

DIEHL, Hamburg. 

DODD,  THOMAS,  London;  his  instruments  had  considerable  reputation. 

Died  in  1810,  at  the  great  age  of  105  years. 
DODD,  THOMAS,  son  of  the  above. 

DOMINICELLI, Ferrara,  i8th  century. 

DUKE,  RICHARD,  London,  1767  to  1777.     This  artist  was  very  celebrated 

in  his  day  ;  frequently  stamped  his  name  on  the  back. 

DURFEL, Altenburg,  made  good  Violin  and  double  Basses. 

DUIFFOPRUGCAR,  GASPARD,    established  in  Bologna  in   1510;    this 

appears  to  be  the  first  maker  of  the  Genuine  VioUit ;  his  original  name  was 

Tiefenbriicker. 

E 

EBERLE,  JEAN  ULRIC,  Prague,  1749;  this  is  one  of  the  celebrated  Ger- 
man makers. 

EBERTI,  TOMMASO,  about  1730. 

EDLINGER,  THOMAS,  Prague,  171 5. 

EDLINGER,  JOSEPH  JOACHIM,  Prague,  son  of  Thomas,  an  excellent 
maker. 

ERNST,  FRANCOIS  ANTOINE,  born  in  Bohemia,  in  1745.  This  artist 
made  some  excellent  instruments. 

EVANS,  RICHARD,  London,  1742. 


22  Dictionary  of  Violin  Makers. 


FALLO, Cremona,  1752. 

FARINATO,  PAUL,  Venezia,  about  1700. 

FENDT,  or  FINTH,  Paris,  1763-80 ;  good  instruments  and  very  close  copies 
of  Stradiuarius. 

FENDT,  BERNHARD,  born  1775,  died  1825.  Nephew  of  the  above  ;  good 
imitations  of  the  Cremonas. 

FENDT,  BERNARD  SIMON,  London,  born  1800,  died  1852. 

FENDT,  MARTIN,  brother  of  above,  born  1812,  died  1845. 

FENDT,  JACOB,  born  181 5,  died  I849. 

FENDT,  FRANCIS. 

FENDT,  WILLIAM,  son  of  Bernard  Simon,  born  1833,  died  1852.  All  the 
Fendts  have  the  reputation  of  being  excellent  workmen. 

FICHTOLD,  HANS,  1612. 

FICKER,  JOHANN  CHRISTIAN,  Cremona,  1722.    German  workmanship. 

FICKER,  JOHANN  GOTTLIEB,  1788. 

FIORILLO,  GIOVANNI,  Ferrara,  1780. 

FLEURY,  BENOIST,  Paris,  about  1720. 

FLORENTUS,  FLORINUS,  Bologna,  1690. 

FORSTER,  WILLIAM.  The  first  violin  maker  of  this  celebrated  name, 
born  1713,  died  1801. 

FORSTER,  WILLIAM  ;  born  1739,  ^i^d  1808.  This  maker  was  very  cele- 
brated for  his  violas  and  violoncellos,  and  is  highly  esteemed  in  England; 

FORSTER,  WILLIAM,  the  third  of  the  name;  born  1764,  died  1824. 

FORSTER,  WILLIAM,  the  fourth  of  the  name;  born  1788,  died  1824. 

FORSTER,  SIMON  ANDREW,  born  1801,  author,  in  conjunction  with 
William  Sandys,  F.  S.  A.,  of  an  excellent  work  on  the  violin  and  other 
instruments  played  with  the  bow. 

FOURRIER,  NICHOLAS,  Mirecourt,  died  in  Paris,  18 16  ;  after  the  Cremona 
school. 

FRITZCHE,  SAMUEL,  Leipsic,  1787,  pupil  of  Hunger  ;  Italian  model,  am- 
ber varnish, 

FRITZ,  BERTHOLD.  Leipsic,  1757. 

FURBER,  DAVID,  about  1700. 

FURBER,  MATTHEW,  son  of  David,  1740. 

FURBER,  JOHN,  grandson  of  David,  1759. 

FURBER,  MATTHEW,  son  of  above,  died  1840. 

FURBER,  JOHN,  son  of  Matthew,  1840. 


Dictionary  of  Violin  Makers.  23 


Gr 

GABRIELLE,  GIOVANNI  BAPTISTA,  Florence,  i8th  century.    Very  good 

workmanship. 
GAETANO,  PASTA,  Brescia,  1700.     Good  work. 
GAETANO,  ANT.,  Cremona,  i860.     Not  in  good  proportions. 
GAGLIANO,  (or  Galliano),  ALESSANDRO,  Naples,  about  1710,  pupil  of 

Stradiuarius.    He  made  some  good  instruments  which  possess  a  bright  and 

sparkling  tone. 
GAGLIANO,  JANUARIUS,  Naples,  1740,  son  of  Alessandro. 
GAGLIANO,  NICHOLAUS,  Naples,  another  son  of  Alessandro. 
GAGLIANO,  FERDINANDO,  Naples,  made  to  1790. 
GAGLIANO,  GUISEPPE,  Naples,  1790. 
GAGLIANO,  GIOVANNI,  Naples. 
GAGLIANO,  ANTONIO,  Naples. 
GAGLIANO,  RAPHAEL,  Naples,  son  of  Giovanni. 
GAGLIANO,  ANTONIO,  Naples,  son  of  Giovanni.    Most  of  the  instruments 

by  this  family  have  a  good  quality  of  tone. 

GALERZENA, Piedmont,  1790. 

GAND, Paris,  one  of  the  very  best  French  makers,  son-in-law  to  Lupot. 

GARANA,  MICHAEL ANGELO,  Bologna,  an  excellent  maker;  about  1700. 

GATTANANI, Piedmont,  1790. 

GAVINIES, Paris,  18th  century. 

GELDER,  JOHANN  BENEDICT,  Fissen. 

GELDER,  JOHANN  ANTONY,  Fissen. 

GERANS,  PAUL,  Cremona,  about  1615. 

GERLE,  JEAN,  Nuremberg,  about  1540. 

GILKES,  SAMUEL,  London,  1787  to  1827. 

GILKES,  WILLIAM,  born  181 1. 

GIORDANE,  ALBERTO,  Cremona,  1735. 

GOBETTI,  FRANCISCO,  Venezia,  about  1700;  a  pupil  of  Stradiuarius,  and 

an  excellent  artist. 
GOFRILLER,  MATTEO,  Venezia,    about    1725,    a  good  maker,  after  the 

Cremona  pattern. 
GOFRILLER,  FRANCISCO,  Venezia,  about  1725. 
GRAGNANI,  ANTONIO,  i8th  century. 

GRANCINO,  GIOVANNI,  Milan,  middle  of  17th  century,  pupil  of  Amati. 
GRANCINO,  PAOLO,  same  as  above. 

GRANCINO,  GIOVANNI  BAPTISTA,  Milan,  son  of  first  named. 
GRANCINO,  GIOVANNI  BAPTISTA,  Milan,  early  in  i8th  century. 


24  Dictionary  of  Violin  Makers. 

GRAN'CINO,  FRANCISCO;  this  artist  made  till  about  1760. 

GRIMM, Berlin,  now  living. 

GROBITZ, Warsaw,  about  1750. 

GUERSAN, Paris,  an  excellent  maker,  about  1730. 

GUGEMMOS, Fissen,  Bavaria. 

GUIDANTUS,  GIOVANNI  FLORENUS,  Bologna,  about  1750,  an  excellent 

maker. 
GULETTO,  NICHOLAS,  Cremona,  about  1790. 
GUADAGNINI,  LORENZO,  Cremona,  1690  to  1720,   pupil  of  Straduarius, 

and  highly  esteemed   as   a  maker ;   followed  the  style  of  his  celebrated 

teacher. 
GUADAGNINI,  LORENZO,  Placentia  and  Milan,  1742,  generally   of  the 

smaller  model,  a  careful  workman. 
GUADAGNINI,  JOHANNES  BAPTISTA,  Cremona,  1710-50,  pupil  of  Stra- 

diuarius. 
GUADAGNINI,  GUISSEPPE,  Turin,  1751. 
GUADAGNINI,  GIOVANNI  BAPTISTA,  Placenza,  1754-85. 
GUADAGNINI,  GUISEPPE,  Parma,  1793. 
GUARNERIUS,  ANDREAS,  Cremona,  born  1630,  dates  to  1680.     Pupil  of 

Hieronymus  Amati.     First  class  workmanship. 
GUARNERIUS,  GUISEPPE,  son  of  Andreas,  Cremona,  dates  from  1690  to 

1730.     Very  superior  workmanship. 
GUARNERIUS,  PIETRO,  son  of  Andreas. 
GUARNERIUS,  JOSEPH,  nephew  of  Andreas.      Known  as  Guiseppe  del 

Jesu  to  distinguish  him  from  his  cousin  of  the  same  name.    Joseph  was 

the  greatest  maker  of  the  Family,  born  1683,  died  1745  at  Cremona. 
GUIDANTUS,  GIOVANNI  F.,  Bologna,  1740. 

H 

HAMUS,  JOHANN  GOTTFRIED,  Rome,  i8th  century. 

HARBOUR, London,  1785. 

HARDIE,  MATTHEW,  Edinburgh,  about  1820. 

HARDIE,  THOMAS,  son  of  above,  1856. 

HARE,  JOSEPH,  London,  1720. 

HARRIS,  CHARLES,  London,  about  181 5. 

HARRIS,  CHARLES,  son  of  the  above. 

HART,  JOHN,  London,  maker  and  restorer,  also  a  great  connoisseur  of 

Italian  instruments. 
HART,  GEORGE,  his  son  and  successor. 
H ASSERT, Rudolstadt,  i8th  century. 


Dictionary  of  Violin  MaJcers.  25 

H ASSERT, Eisenach,  i8th  century. 

HEESOM,  EDWARD,  London,  1750. 

HELMER,  CHARLES,  Prague,  1740. 

HILDEBRANDT,  MICHAEL  CHRISTOPHER,  Hamburg,  1765. 

HILL,  WILLIAM,  London,  1740. 

HILL,  WILLIAM,  now  living. 

HILL,  JOSEPH,  London,  1770. 

HIRCUTT, English  maker,  about  1600. 

HOFFMANN,  MARTIN,  Leipsic. 
HOLLOWAY,  J.,  London,  1794. 
HUME,  RICHARD,  Edinburgh,  about  1530, 

HUNGER,  CHRISTOPHER  FREDERICK,  Leipsic,  1787,  a  superior  Ger- 
man maker. 

J 

JACOBI,  MISSEN,  a  famous  maker. 

JACOBS, Amsterdam,  18th  century. 

JAY,  HENRY,  London,  1615. 

JAY,  THOMAS,  London,  about  1700. 

JAY,  HENRY,  London,  1750,  a  maker  of  Kits. 

JAUCH, Dresden,  about  1765,  good  German  maker. 

JOHNSON,  JOHN,  London,  1753. 
JULIANO,  FRANCISCO,  Rome,  1700. 

K 

KAMBL,  JOHANN  CORNELIUS,  1635. 

KENNEDY,  ALEXANDER,  London,  died  1785. 

KENNEDY,  JOHN,  died  1816. 

KENNEDY,  THOMAS,  London,  said  to  have  made  300  violoncellos. 

KERLIN,  JOAN,  Brescia,  1450,  a  "  viol  "  maker. 

KIAPOSSE,  SAWES,  Petersburg,  1748. 

KLOTZ,  MATTHIAS,  Tyrolese,  about  1675. 

KLOTZ,  EGITIA,  often  considered  the  best  of  the  family. 

KLOTZ,  GEORGE,  brother  of  Egitia. 

KLOTZ,  SEBASTIAN,  large  model,  perhaps  the  best  of  the  family. 

KLOTZ,  MICHAEL,  1771. 

KLOTZ,  JOSEPH,  son  of  Egitia,  Mittenwald,  1774.  Egitia  and  Sebastian 
are  considered  the  best  makers  of  the  family,  and  it  is  said  that  a  "  noble 
lord  "  offered  for  one  by  Sebastian  ^300  and  an  annuity  of  ^100. 

KOHL,  JEAN,  Munich,  Luthier  to  the  Court,  1570. 


26  Dictionary  of  Violin  Makers. 

KOLDITZ,  MATTHIAS  JOHANN,  Munich,  1722. 
KOLDITZ,  JAQUES,  Rumbourg  in  Bohemia,  1790. 

KOLIKER, Paris,  a  noted  maker  and  collector,  about  1750. 

KNITTING,  PHILIP,  Mittenwald,  1760. 
KNITL,  JOSEPH,  Mittenwald,  1790. 
KRINER,  JOSEPH,  Mittenwald,  1785. 


LACASSO,  ANTONIO  MARIA,  Milan. 

LAGETTO,  Paris,  about  1650. 

LAMBERT,  JOHANN  HENRY,  Berlin,  1760. 

LAMBERT, Nancy,  1760. 

LANDOLPHI,  CARLO,  Florence,  1750,  an  excellent  maker,  followed  the 
Cremona  pattern. 

LANDOLPHI,  FERDINAND,  Milan,  1750. 

LANSA,  ANTONIO  MARIA,  1675. 

LAUTTEN,  L.  W. 

LECLERC, Paris,  1 8th  century. 

LENTZ,  JOHANN  NICHOLAUS,  London,  1800. 

LEWIS,  EDWARD,  London,  about  1700. 

LINAROLLI, Venezia,  about  1520,  maker  of  rebecs,  &c. 

LOLI,  J.,  Naples,  1627. 

LOTT,  JOHN  FREDERICK,  London,  born  1775,  died  1853. 

LOTT,  G.  F.,  son  of  the  above. 

LOTZ,  THEODORE,  Prestburg,  about  1735. 

LUPOT,  FRANCOIS,  Stuttgard,  about  1770. 

LUPOT,  NICHOLAS,  born  at  Stuttgard,  1758,  went  to  Orleans  1786,  and 
Paris  1794,  died  1824;  this  artist  is  considered  the  best  of  the  French  ma- 
kers ;  he  followed  the  models  of  Stradiuarius,  used  excellent  wood  and 
good  varnish,  much  in  the  style  of  that  master.  They  now  demand  high 
prices. 

M 

MAGGINI,  GIOVANNI  PAOLO,  Brescia,  1590  to  1640;  this  celebrated 
artist  was  a  pupil  of  Caspar  di  Salo.  They  are  generally  of  a  large  pattern 
with  elevated  model  reaching  almost  to  the  edges ;  narrow  ribs,  double 
purfling,  fine  yellowish  brown  or  golden  colored  varnish  of  good  quality. 
Dc  Beriot  introduced  one  which  brought  them  at  once  into  esteem  and  for 
which  he  has  been  offered  almost  fabulous  sums. 


Dictionary  of  Violin  Makers.  27 

MAGGINI,    PIETRO   SANTO,    Brescia,    son   of  Giovanni,   1630  to  1680 ; 

followed  the  style  of  his  father  ;  he  was  very  famous  for  his  Double  Basses. 
MAIER,   ANDREA   FERDINAND,    Salzburg,    1746.     Little  is  known   of 

this  maker,  except  that  he  made  the  small  Violin  on  which  Mozart  first 

learned  to  play, 

MALDONNER, Bavaria,  about  1760. 

MALLER,   LAUX,  Venice,  was  an  early  and  highly  esteemed  maker   of 

Lutes. 
MARIANI,  ANTONIO,  Pesaro,  1570  to  1620,  an  imitator  of  Gaspard  di  Salo. 

MARATTI, Verona,  1690. 

MARQUIS  DE  LAIR.  French  maker,  about  1800. 
MARSHALL,  JOHN,  London,  1760. 

MARTIN, London,  1790, 

MAUCOTEL,  CHARLES,  London,  an  excellent  workman. 
MAUSIELL,  LEONARD,  Nuremberg,  1725,  a  close  imitator  of  Steine. 
MAYRHOF,  ANDREA  FERDINAND,  Salzburg,  1740. 
MEDARD,  HENRY,  Paris  and  Nancy.     A  superior  French  maker,  pupil 

of  Nicholas  Amati. 
MERLIN,  JOSEPH,  London,  about  1780. 
MEUSIDLER,  JEAN,  Nuremberg,  about  1540. 
MEZZADIE,  ALEXANDER,  Ferrara,  about  1700. 

MIER, London,  1786. 

MILANI,  FRANCISCO,  Milan,  about  1760. 

MILLER, London,  about  1750. 

MOHR,  PHILIP.  Hamburg,  1650. 

MONTADE,  GREGORIO.  Cremona,  1735. 

MONTAGNANA,  DOMINICO,  Venezia,  1725;  this  artist's  instruments  Were 

of  large  size,  the  varnish  exceedingly  briUiant,  of  a  yellowish  red  color, 

and  the  tone  everything  that  can  be  desired. 
MORRISON,  JOHN,  London,  1780  to  1819. 
MORELLA,  MORGLATO,  Mantua,  about  1550. 

N 

NAMY, Paris,  about  1800. 

NAYLOR,  ISAAC,  Leeds,  1788. 
NEWTON,  ISAAC,  1780. 

NICHOLAS, Geneva,  1790. 

NIGGEL,  SYMPERTUS,  Paris,  about  1650. 
NORMAN,  BARAK,  London,  1690  to  1740. 


28  Dictionary  of  Violin  Makers. 

NORRIS  AND  BARNES,  pupils  of  Thomas  Smith,  1785  to  1818. 
NOVELLO,  VALENTINO,  Venezia,  about  the  middle  of  the  i8th  century. 
NOVELLO,  MARCO  ANTONIO,  Venezia,  same  date  as  above,  i8th  century. 

o 

OBUE,  BARTOLOMEO,  Verona. 

ODOARDI,  GUISEPPE,  early  i8th  century. 

OTTO,  JACOB  AUGUSTUS,  born  at  Gotha,  1762,  died  1830;  author  of  the 

celebrated  Book  on  the  Construction  of  the  Violin.     He  made  some  good 

instruments. 


PANORMO,  VINCENZIO,  born  near  Palermo,  1734 ;  went  to  England  about 
1772,  died  in  1813;  his  instruments  are  carefully  constructed  on  Cremona 
models  ;  his  Cellos  are  particularly  good. 

PANORMO,  JOSEPH,  son,  a  good  workman. 

PANORMO,  GEORGE  LEWIS,  another  son. 

PANORMO,  EDWARD. 

PAMPHILON,  EDWARD,  London,  1685. 

PANSANI,  ANTONIO,  Rome,  1785. 

PARKER,  DANIEL,  London,  1714. 

PASTA,  GAETANO,  Brescia,  early  in  the  i8th  century. 

PASTA,  DOMINICO,  Brescia,  same  date. 

PEARCE,  JAMES  and  THOMAS,  London,  1780. 

PEMBERTON,  J.,  London,  1580. 

PFRETZSCHNER,  GOTTLOB,  Cremona,  1749. 

PFRETZSCHNER,  CARL  FREDERICK.  Cremona. 

PICHOL, Paris. 

PIRINO, Padua,  1712. 

PIQUE, Paris  ;  an  excellent  maker  and  master  of  Lupot. 

PIERRAY,  or  PIERRET,  CLAUDE,  Paris,  a  charming  workman. 

PERRY, Dublin. 

PIETE,  NOEL,  Paris,  about  1785. 

PLACK,  FRANCIS,  Schoenback,  1738. 

POLLUSHA,  ANTONIO,  Rome,  1751. 

PONS, Grenoble,  France,  1787. 

POSSEN,  LAUXMIN,  Bavaria,  about  1540. 

POWELL,  ROYAL  and  THOMAS,  London,  1785. 

PRESTON,  JOHN,  York,  1789. 


Dictionary  of  Violin  Makers.  29 

R 

RACCERIS, Mantua,  1670.     Like  the  Gaglianos. 

RAF, Bavaria, 

RAMBEAUX, Paris,  an  excellent  workman. 

RAPHAEL,  NELLA,  Brescia,  i8th  century. 
RAUCH,  JAQUES,  Mannheim,  1730  to  1740. 
RAUCH,  SEBASTIAN,  1742  to  1763. 

RAUCH, Breslau. 

RAUCH, Wurtzburg. 

RAUT,  JEAN,  Bretagne,  about  1790. 
RAYMAN,  JACOB,  London,  1641. 
REICHEL,  JOHANN  GOTTFRIED,  Absom. 
REICHEL,  JOHANN  CONRAD,  Neukirch,  1779. 

REISS, Bamburg. 

REMY, Paris. 

RENISTO, Cremona,  1740.     Pupil  of  Carlo  Bergonzi. 

RICOZALIS,  LUDOVICUS,  1756. 
RIMBOUTS,  PETER,  Amsterdam. 
ROOK,  JOSEPH,  London,  1777  to  1852. 
ROTH,  CHRISTIAN,  Augsburg,  1675. 

ROVELIN, 18th  century. 

RUDGER, Cremona. 

RUGGERI,  FRANCISCO,  Cremona,  1670  to  1720.    This  maker  ranks  high  ; 

his  instruments  are  considered  nearly  equal  to  the  Amatis  ;  their  quality  is 

similar,  and  the  style  of  work  is  easily  seen  to  belong  to  the  same  class  ; 

some  of  his  grand  pattern  are  said  to  even  surpass  the  Amatis.     His 

work  is  extremely  clean,  and  the  varnish  fine. 
RUGGERI,  GUIDO,  Cremona,  1679. 

RUGGERI,  GIOVANNI  BAPTISTA,  son  of  Francisco,  Brescia,  1696. 
RUGGERI,  PIETRO  GIACOMO,  Brescia,  170010  1720. 
RUGGERI,  VINCENZIO,  1700  to  1730. 
RUPPERT,  FRANCIS,  Erfurth. 

s 

SAINT,  PAUL,  Paris,  about  1650. 

SALO,  GASPAR  DI,  Brescia,  from  1560  to  1610.  This  celebrated  artist 
was  a  contemporary  of  the  ancient  Amatis.  The  varnish  on  which  the 
great  Cremonese  makers  estabUshed  that  notable  reputation  which  distin- 
guishes them  to  the  present  day,  bears  a  strong  analogy  to  that  of  Gaspar 


30  Dictionary  of  Violin  Makers. 

di  Salo,  His  instruments  are  large,  double  purfled,  and  large  sound 
holes.     He  is  esteemed  the  greatest  maker  of  his  time. 

SALLE, Paris,  1800. 

SANONL  GIOVANNI  BAPTISTA,  Verona, 

SANTI,  GIOVANNI,  Naples,  1730- 

SANCTUS,  SERAPHINO,  Venezia,  about  1730;  of  the  Steiner  school,  and 
superior  workmanship. 

SAPINO, Cremona. 

SANZO,  SANTINO,  Milan. 

SAUNIER, born  in  Lorraine,  1740. 

SCHEINLEIN,  MATTHIAS  FREDERICK,  Langenfeld,  born  1710.  died 
1771. 

SCHEINLEIN,  JEAN  MICHAEL,  Langenfeld,  born  1751. 

SCHMIDT, Cassel,  1817. 

SCHONGER,  FRANCIS,  Erfurth. 

SCHONGER,  GEORGE,  Erfurth. 

SCHORN,  JACOB,  Salzbourg. 

SCHORN,  JOHANN,  Inspruck,  1688. 

SCHOTT,  MARTIN,  Prague. 

SHAW, London,  1656. 

SIMPSON,  JOHN,  London,  1790. 

SIMPSON,  J.  and  J.,  sons  of  the  above. 

SIMON, Salzbourg,  1722. 

SIMON, Paris. 

SMITH,  HENRY,  London,  1629. 

SMITH,  THOMAS,  London,  1756  to  1799. 

SMITH,  WILLIAM,  London,  1771. 

SOLOMON, a  good  French  maker. 

SPEILER, 18th  century. 

STADELMAN,  DANIEL,  Vienna,  1744. 

STADELMAN,  JOHANN  JOSEPH,  Vienna,  1784. 

STEFANO,  1725. 

STEINER,  JACOB,  of  Absom  in  the  Tyrol,  born  about  1620,  at  the  age  of 
seventy  retired  to  a  Convent ;  while  yet  a  youth  he  obtained  employment 
with  Nicholas  Amati,  and  made  some  instruments  which,  with  the  sixteen 
(called  the  Electors')  are  considered  the  finest  specimens  of  his  talent. 
At  the  present  time  they  are  not  considered  so  valuable  as  the  great  Ital- 
ian masters. 

STOSS.  FRANCIS,  Bavaria. 


Dictionary  of   Violin  Makers.  81 

STORIONI,  LORENZO,  Cremona,  living  in  1782,  said  to  be  the  last  of  the 
great  Cremona  makers.     They  resemble  those  of  Joseph  Guarnerius. 

STRADIUARIUS,  ANTONIUS,  Cremona,  born  1644,  died  1737,  at  the  grc  at 
age  of  ninety-three.  In  the  early  part  of  his  life  he  was  a  pupil  of  Nicholi^ 
Amati.  He  afterwards  enlarged  his  model  and  adopted  a  flatter  patter  i, 
and  arrived  at  the  greatest  perfection  about  1700;  from  that  period  to 
1725  everything  bore  the  impress  of  the  great  master.  He  excelled  at  that 
time  all  who  had  gone  before  him  in  the  accuracy  with  which  all  the  parts 
were  adjubted  in  harmonious  relation,  or  who  have  since  attempted  the 
difficult  task  of  vieing  with  him.  M.  Fetis  insists  that  the  violins  of  Stra- 
diuarius  were  as  good  and  fine  in  quality  of  tone  when  made  as  they  arc 
now,  contrary  to  the  fact  that  time  and  use  are  necessary  to  develop  them. 

STRADIUARIUS,  HOMOBONO,  Cremona,  son  of  Antonius ;  made  under 
the  direction  of  his  father,  signed  "  Sub  disciplina  A.  Stradiuarius." 

STRADIUARIUS,  FRANCISCO,  Cremona,  another  son  of  Antonius,  signed 
the  same. 

STRAUBE, Berlin,  1770. 

SURSANO,  SPIRITUS,  Coni,  1764. 

T 

TAYLOR, London,  1770  to  1820. 

TECHLER,  DAVID,  about  1706.     He  made  some  beautiful  and  excellent 

instruments. 

TENZEL, No  particulars. 

TEODITI,  JEROME,  Rome,  1750. 
TESTATOR,  IL  VECCHIO,  Milan,  about  1520. 

TERRESIO, An  Italian,  a  most  eminent  judge  of  instruments. 

TESTORE,  CARLO  GUISEPPE,  Cremona,  about  1700.     This  artist  made 

some  very  good  instruments  after  the  Guarnerius  pattern. 
TESTORE,  CARLO  ANTONIO,  Milan,  i7ioto  1730. 
TESTORE,  PAOLO  ANTONIO,  Milan,  1720  to  1740. 
THOROWGOOD,  HENRY,  London,  i8th  century. 

TOBIN, London,  1800  to  1836. 

TONINI,  FELICE,  Bologna. 

TONINI,  ANTONIO,  Bologna. 

TONINI,  CARLO,  Bologna. 

TONINI,  GUIDO,  Bologna. 

TONONI,  CARLO,  Venezia,  1699. 

TONONI,  GIOVANNI,  Venezia,  1699.     The  instruments  of  this  maker  are 

worthy  of  praise.     They  are  very  scarce. 


32  Dictionary  of  Violin  Makers. 

TORINO, London. 

TORTOBELLO,  Rome,  1680. 
TRUNCO, Cremona,  1660. 

u 

URQUART,  THOMAS,  London,  1650. 

V 

VALLER, Marseille,  1683. 

VERON, Paris,  about  1725. 

VIARD,  NICHOLAS,  Versailles,  about  1730. 
VIBRECHT,  GYSBERT,  Amsterdam,  1707. 
VETTRINI,  Brescia,  old  and  very  handsome, 
VIMERCATI,  PAULO,  Venezia,  1700. 
VOGEL,  WOLFGANG,  Nuremberg. 
VUILLAUME,  JEAN,  1700  to  1740. 

VUILLAUME,  JEAN  BAPTISTE,  Paris.      Celebrated  as  a  Violin  and  bow 
maker,  and  for  his  copies  of  the  Cremonese  instrument. 

w 

WAGNER,  JOSEPH,  Constance,  1733. 

WAMSLEY,  PETER,  London,  1727. 

WEAVER,  SAMUEL,  London. 

WEISS,  JACOB,  Salzburg,  1761. 

WENGER.  GREGORIO  FERDINAND,  Salzburg,  1761. 

WEYMANN,  CORNELIUS,  Amsterdam,  1682. 

WIGHTMAN,  GEORGE,  1761. 

WITHALM,  LEOPOLD,  Nuremberg,  1765  to  1788.     Finely  made  and  very 

closely  resemble  Steiner. 
WITHERS,  EDWARD,  now  living.^ 
WISE,  C,  London,  1656. 

WORNUM, London,  1794. 

WRIGHT.  DANIEL,  London,  1745. 

Y 

YOUNGE,  JOHN,  London,  1724. 

z 

ZANETTO,  PEREGRINO,  Brescia,  1540. 
ZANTI,  ALESSANDRO,  Mantua,  1770.      • 
ZANOLLI. 

OF  THE 

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